Mark Bauerlein is Senior Editor at First Things and Professor of English at Emory University, where he has taught since earning his PhD in English at UCLA in 1989. For two years (2003-05) he served as Director of the Office of Research and Analysis at the National Endowment for the Arts. His books include Literary Criticism: An Autopsy (1997), The Pragmatic Mind: Explorations in the Psychology of Belief (1997), and The Dumbest Generation: How the Digital Age Stupefies Young Americans and Jeopardizes Our Future (2008). His essays have appeared in PMLA, Partisan Review, Wilson Quarterly, Commentary, and New Criterion, and his commentaries and reviews in the Wall Street Journal, Washington Post, Boston Globe, Weekly Standard, The Guardian, Chronicle of Higher Education, and other national periodicals.
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Mark Bauerlein
Unlike the SAT and ACT, the Classic Learning Test rewards familiarity with the great works of Western civilization. Continue Reading »
In giving voice to faith’s role in the West, Donald Trump’s Poland speech was no mere dog whistle. Continue Reading »
Mark Zuckerberg fails to understand that church-going is more than an exercise in human community-building. Continue Reading »
One moment in Democrat Jon Ossoff's campaign shows how liberalism misconstrues much of America's cultural climate. Continue Reading »
Academic dogma casts religiously inspired critique as narrow and bigoted, but my experience has been the opposite. Continue Reading »
The old virtues of manhood are missing from youth culture. Here is a list of films and TV shows for 10-to-13-year-old boys to rediscover them. Continue Reading »
Actual attendance in class and taking notes by hand, not with any technology, is better for learning. Continue Reading »
The more opinions are out there in the world, the less each one matters, including the best ones. Continue Reading »
The real issue at stake in Kentucky's religious liberty kerfuffle is not discrimination, but belief—a belief that will not bow to sexual progressivism. Continue Reading »
“All my brothers went West and took up land, but I hung on to New England and I hung on to the old farm, not because the paint mine was on it, but because the old house was on it—and the graves.” That’s what Silas Lapham tells a Boston journalist in the opening scene of William Dean . . . . Continue Reading »
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